This volume sets out a new paradigm in intersemiotic translation
research, drawing on the films of Ang Lee to problematize the
notion of films as the simple binary of transmission between the
verbal and non-verbal. The book surveys existing research as a
jumping-off point from which to consider the role of audiovisual
dimensions, going beyond the focus on the verbal as understood in
Jakobsonian intersemiotic translation. The volume outlines a
methodology comprising a system of various models which draw on
both translation studies and film studies frameworks, with each
model illustrated with examples from Ang Lee’s Crouching Tiger,
Hidden Dragon; Lust, Caution; and Life of Pi. In situating the
discussion within the work of a director whose own work straddles
East and West and remediates between cultures and semiotic systems,
Zhang argues for an understanding of intersemiotic translation in
which films are not simply determined by verbal source material but
through the process of intersemiotic translators mediating
non-verbal, quality-determining materials into the final film. The
volume looks ahead to implications for translation and film
research more broadly as well as other audiovisual media. This book
will appeal to scholars interested in translation studies, film
studies, media studies and cultural studies in general.
General
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